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This essay reconsiders the troubled history of Where There is Nothing (1902), which Yeats disavowed as a “contamination,” and its replacement, The Unicorn from the Stars (1907), and the trajectory of his dramatic collaborations between 1899 and 1907. In seeking out George Moore and then Lady Gregory as collaborators, Yeats hoped to produce a compelling union of his own poetic methods with Moore’s and Gregory’s more realist approaches, thereby combining imaginative subtleties with the concerns, vitalities and language of everyday life. He formulated this aspiration as a bringing together of “a Shelley and a Dickens in the one body.” The drafts of The Unicorn from the Stars reveal something of the process by which that aspiration broke down. Yeats appears to have quite deliberately used the play to investigate the growing creative tensions between himself and Gregory. Its failure and their disagreements effectively ended Yeats’s efforts to write “peasant plays,” his years of close collaboration with Gregory, and his readiness to seek out an actual, rather than self-generated, creative “anti-self” to offset and complicate his own creative tendencies.
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